I attended the Cinegear Masterclass where these shots were taken. They same shots were also done using the a 435 with 5218 and 5229, a Panavision Genesis and a Dalsa Origin. Afterwards, the film was scanned in at 4K and downrezzed to 2K on a Spirit at Laser Pacific, where they were compared side by side using a 2K projector.
The Dalsa had rendered the image at an incorrect ISO (one of several problems with the Dalsa), so it was not really availible for comparison.
The D20 and the Genesis were much closer. Though the Genesis had a slight CCD defect (a thin verticle flaring from the candles), it seemed by far to be the most production ready of the 3 digital cameras.
The D20 had a different look than the Genesis, but it may have been because it already had settings applied to it in camera (I can't remember what these are called).
The Genesis had primo lenses and the others had the Master Primes, which exhibited zero breathing and no ghosting. That's right, zero breathing, no ghosting. Germans. I do think that the primos were sharper though.
Overall, the film had a richer and crisper feel to it even though it was downrezzed again to 1K because the processors couldn't handle the 2K for some reason. What was most impressive to me about the film was how much could be done with it in comparison to the other cameras. They had a relatively narrow color correction range before there was too much noise. This film kept it's smooth feel, even when abused.
This is most of what I remember. Most of the people around me spent the day talking about the girl.
Logan Schneider
DP
PS: I made a lighting diagram of the shoot, which I will post if I have a chance.
